WEBVTT 00:00.010 --> 00:01.010 >> WE ALL LOVE A GOOD STORY, AND 00:01.010 --> 00:05.060 THE MOTH BRINGS OUT THE BEST 00:05.060 --> 00:06.088 FOR StorySLAM. 00:06.088 --> 00:08.020 THE NIGHT RIDERS ROAMED IN 00:08.020 --> 00:11.064 WESTERN KENTUCKY. 00:11.064 --> 00:13.092 ROCK AND STRONG VOCALS ARE A HI 00:13.092 --> 00:14.011 FOR CORALEE AND THE TOWNIES. 00:14.011 --> 00:16.052 IT WOULD BE A CRIME NOT TO ENJO 00:16.052 --> 00:19.032 A NIGHT AT GANGSTERS AND 00:19.032 --> 00:22.080 KENTUCKY'S MOONBOW COMES INTO 00:22.080 --> 00:24.080 FOCUS AT CUMBERLAND FALLS. 00:24.080 --> 00:27.068 NIGHTTIME IS THE RIGHT TIME FOR 00:27.068 --> 00:30.012 THIS "KENTUCKY LIFE." 00:46.011 --> 00:49.012 HELLO, I'M DAVIE SHUFFETT ALONG 00:49.012 --> 00:51.010 WITH MY PAL TOBY. 00:51.010 --> 00:53.040 WELCOME TO "KENTUCKY LIFE." 00:53.040 --> 00:55.008 WE HAVE BEEN CALLING THIS WEEK' 00:55.008 --> 00:56.060 SHOW KENTUCKY NIGHT LIFE. 00:56.060 --> 00:58.004 TONIGHT ALL OUR STORIES TAKE US 00:58.004 --> 00:59.010 TO THE DARK SIDE -- OR AT LEAST 00:59.010 --> 01:02.000 THE AFTER-DARK SIDE -- AS WE 01:02.000 --> 01:03.084 FEATURE SOME OF KENTUCKY'S 01:03.084 --> 01:05.048 NIGHTTIME EVENTS AND ACTIVITIES 01:05.048 --> 01:07.036 UP FIRST, A STORY ABOUT STORIES 01:07.036 --> 01:09.032 THE ONES THAT ARE TOLD AT A 01:09.032 --> 01:13.000 POPULAR MONTHLY EVENT AT 01:13.000 --> 01:14.028 HEADLINERS MUSIC HALL IN 01:14.028 --> 01:14.011 LOUISVILLE. 01:14.011 --> 01:17.036 IN FRONT OF A SELL-OUT CROWD, 01:17.036 --> 01:18.010 PEOPLE STEP UP TO THE MICROPHON 01:18.010 --> 01:20.080 AND TELL TRUE STORIES FROM THEI 01:20.080 --> 01:21.020 LIVES. 01:21.020 --> 01:23.084 IT'S AN UNPREDICTABLE MIX OF 01:23.084 --> 01:26.068 COMEDY, CONFESSION AND ADVENTUR 01:26.068 --> 01:33.016 AND IT'S CALLED THE MOTH. 01:33.016 --> 01:35.040 >> THE MOTH IS AN ORGANIZATION 01:35.040 --> 01:38.016 THAT SPONSORS STORY-TELLING 01:38.016 --> 01:40.036 EVENINGS IN VARIOUS PLACES 01:40.036 --> 01:41.080 AROUND THE COUNTRY. 01:41.080 --> 01:45.012 THERE ARE TWO BRANCHES OF THE 01:45.012 --> 01:45.088 MOTH. 01:45.088 --> 01:49.016 THE MAIN STAGE SERIES OF A 01:49.016 --> 01:52.011 CURATOR OF SERIES WHERE THE MOT 01:52.011 --> 01:54.040 APPROACHES WELL KNOWN STORY 01:54.040 --> 01:59.004 WRITERS, ACTORS TO TELL STORIES 01:59.004 --> 02:02.016 THE OTHER IS IN LOUISVILLE, AN 02:02.016 --> 02:04.010 OPEN-MIC STORY-TELLING EVENT, 02:04.010 --> 02:06.076 WHERE ANYONE CAN SIGN UP TO TEL 02:06.076 --> 02:08.040 A STORY. 02:08.040 --> 02:10.064 YOU PUT YOUR NAME IN THE HAT, W 02:10.064 --> 02:12.012 DRAW OUT TEN NAMES IN THE COURS 02:12.012 --> 02:12.010 OF THE EVENING. 02:12.010 --> 02:17.011 WE NEVER KNOW WHAT WE'LL GET. 02:17.011 --> 02:18.068 [ LAUGHTER ] 02:18.068 --> 02:19.010 EACH STORY IS SCORED BY A TEAM 02:19.010 --> 02:21.010 OF JUDGES CHOSEN FROM THE 02:21.010 --> 02:22.064 AUDIENCE. 02:22.064 --> 02:24.028 THEY'RE REGULAR AUDIENCE MEMBER 02:24.028 --> 02:25.010 WHO LOVE STORIES AND GIVE EACH 02:25.010 --> 02:27.012 STORY A SCORE. 02:27.012 --> 02:28.076 AT THE END OF THE NIGHT, WE 02:28.076 --> 02:29.010 DECLARE OUR WINNER. 02:29.010 --> 02:32.084 >> WHILE THESE OTHER KIDS WERE 02:32.084 --> 02:38.076 MEMORIZING DORKY FACTS, I WAS 02:38.076 --> 02:43.010 PLAYING WITH MY KAMAGACHI. 02:43.010 --> 02:45.036 I WAS SHAMING NOT ONLY MY 02:45.036 --> 02:47.052 PARENTS BUT ALL INDIAN PARENTS 02:47.052 --> 02:52.044 EVERYWHERE BECAUSE I WAS A BENC 02:52.044 --> 02:53.052 WARMER! 02:53.052 --> 02:54.052 HONESTLY, THOUGH, I WASN'T A 02:54.052 --> 02:57.028 BENCH WARMER WHEN IT CAME TO 02:57.028 --> 02:58.072 SPORTS, WHICH WAS MY SECOND WAY 02:58.072 --> 03:00.028 OF TACKLING THIS PROBLEM, HOW D 03:00.028 --> 03:02.016 I PULL OFF BEING AN AMERICAN -- 03:02.016 --> 03:03.010 AND THE ANSWER WAS SIMPLE, BE A 03:03.010 --> 03:04.060 ATHLETE. 03:04.060 --> 03:05.096 AND THAT WAS EASY FOR ME. 03:05.096 --> 03:07.008 I WAS SHORT. 03:07.008 --> 03:08.011 OBVIOUSLY, NOT MUCH HAS CHANGED 03:08.011 --> 03:10.011 I WAS SHORT, FAST, AND UNLIKE 03:10.011 --> 03:13.076 MOST KIDS, I ACTUALLY GAVE A 03:13.076 --> 03:15.044 CRAP ABOUT PLAYING AND PUT FORT 03:15.044 --> 03:17.076 A GENUINE EFFORT, WHICH GETS YO 03:17.076 --> 03:20.011 REALLY FAR IN CHILDREN'S 03:20.011 --> 03:21.076 ATHLETICS. 03:21.076 --> 03:23.088 THE APPEAL, I THINK IT'S HEARIN 03:23.088 --> 03:25.060 DIFFERENT PEOPLES' EXPERIENCES. 03:25.060 --> 03:27.040 YOU CAN THINK YOU KNOW WHAT 03:27.040 --> 03:28.011 YOU'RE GOING TO HEAR WITH A 03:28.011 --> 03:29.064 THEME. 03:29.064 --> 03:31.088 YOU CAN THINK YOU KNOW WHAT 03:31.088 --> 03:32.011 THAT'S GOING TO BE. 03:32.011 --> 03:34.011 THEN SOMEONE WILL COME UP AND 03:34.011 --> 03:36.068 TELL A STORY YOU'RE NOT 03:36.068 --> 03:38.008 EXPECTING AND IT'S NOT YOU'VE 03:38.008 --> 03:40.040 NOT HEARD IN YOUR WHOLE LIFE. 03:40.040 --> 03:43.011 IT'S OFTEN TOUCHING, OFTEN FEWY 03:43.011 --> 03:44.011 SOMETIMES BIZARRE. 03:44.011 --> 03:45.011 >> THE BEST WAY TO EXPERIENCE 03:45.011 --> 03:50.012 THE MOTH IS COME HERE IN PERSON 03:50.012 --> 03:51.048 HEADLINERS IN LOUISVILLE, WHERE 03:51.048 --> 03:52.068 WE HAVE BEEN DOING THIS SINCE 03:52.068 --> 03:54.004 SEPTEMBER OF 2011. 03:54.004 --> 03:55.080 EVERY MONTH WE'RE HERE THE LAST 03:55.080 --> 03:57.004 TUESDAY OF THE MONTH. 03:57.004 --> 03:58.072 >> I MEAN, IT'S AN HONOR TO 03:58.072 --> 03:59.088 HAVE -- WHEN LOUISVILLE WAS 03:59.088 --> 04:01.004 GIVEN THE OPPORTUNITY AT THE 04:01.004 --> 04:02.028 TIME, I BELIEVE IT WAS JUST 04:02.028 --> 04:04.048 L.A., DETROIT, CHICAGO AND, OF 04:04.048 --> 04:07.012 COURSE, NEW YORK, AND, YOU KNOW 04:07.012 --> 04:09.004 SUCH A SMALL MARKET CAN HAVE TH 04:09.004 --> 04:10.060 HONOR OF HAVING A MOTH. 04:10.060 --> 04:12.012 I'VE KNOWN FROM RADIO THIS IS 04:12.012 --> 04:14.092 THE FASTEST-GROWING PUBLIC RADI 04:14.092 --> 04:16.056 PROGRAM OUT THERE AND THAT WE 04:16.056 --> 04:20.036 ARE PART OF THE LOCAL STORY 04:20.036 --> 04:23.024 TELLERS GET TO HAVE THE NATIONA 04:23.024 --> 04:23.088 STAGE. 04:23.088 --> 04:25.084 WHAT DOES OWNER WOULDN'T WANT 04:25.084 --> 04:26.040 THAT? 04:26.040 --> 04:27.088 >> BUT I HAD THIS BURNING 04:27.088 --> 04:28.084 QUESTION I WANTED TO ASK. 04:28.084 --> 04:30.024 I WENT OVER AND ASKED MY 04:30.024 --> 04:31.076 TEACHER, MISS SHORT. 04:31.076 --> 04:34.036 I SAID, MISS SHORT, CAN I ASK A 04:34.036 --> 04:34.096 QUESTION? 04:34.096 --> 04:36.036 SHE SAID, NO, YOU'RE NOT A 04:36.036 --> 04:37.000 REPORTER. 04:37.000 --> 04:38.092 I SAID CAN I ASK A REPORTER TO 04:38.092 --> 04:40.032 ASK A QUESTION FOR ME? 04:40.032 --> 04:42.092 SHE SAID YEAH, SO I WENT TO AND 04:42.092 --> 04:45.080 PARKER, HE HAD FUNKY GLASSES AN 04:45.080 --> 04:46.084 REAL LONG HAIR. 04:46.084 --> 04:48.011 I SAID, ANDY, ASK THEM IF THEY 04:48.011 --> 04:50.068 AGREED ON ANYTHING BECAUSE THIS 04:50.068 --> 04:52.028 CONVERSATION IS GOING NOWHERE. 04:52.028 --> 04:54.028 AND BLESS ANDY'S HEART, HE ASKE 04:54.028 --> 04:55.064 THEM JUST LIKE THAT. 04:55.064 --> 04:57.028 HE SAID, DO Y'ALL AGREE ON 04:57.028 --> 04:58.044 ANYTHING BECAUSE THIS 04:58.044 --> 04:59.064 CONVERSATION IS GOING NOWHERE. 04:59.064 --> 05:01.076 I LOOKED OVER AT MISS SHORT, 05:01.076 --> 05:03.020 SURE SHE WAS GOING TO GIVE ME 05:03.020 --> 05:05.004 THE LOOK OF I WAS THE MOST 05:05.004 --> 05:06.076 BRILLIANT KID IN SCHOOL, INSTEA 05:06.076 --> 05:10.016 SHE LOOKED AT ME LIKE I WAS THE 05:10.016 --> 05:14.016 CRAZIEST KID IN SCHOOL. 05:14.016 --> 05:16.076 AND JIMMY CARTER SAID, WE'RE NO 05:16.076 --> 05:17.011 SUPPOSED TO! 05:17.011 --> 05:20.064 >> MOTH STORIES ARE DONE WELL. 05:20.064 --> 05:22.016 TWOFOLD, ONE, IT'S A PERSONAL 05:22.016 --> 05:22.076 STORY. 05:22.076 --> 05:26.080 SO A GREAT MOTH STORY PUTS THE 05:26.080 --> 05:29.028 STORY TELLER INSIDE THE ACTION. 05:29.028 --> 05:31.040 THEY'RE THE ONE WHO EXPERIENCES 05:31.040 --> 05:32.011 THE ACTION AND PLOT OF THE 05:32.011 --> 05:34.084 STORY, BUT ALSO THEY'RE 05:34.084 --> 05:36.016 TRANSFORMED SOMEHOW BY WHAT 05:36.016 --> 05:38.084 HAPPENED TO THEM AND, ALSO, THA 05:38.084 --> 05:43.000 THEY'RE TRUE. 05:43.000 --> 05:46.048 >> IT'S AN EVENING OF ANALOG 05:46.048 --> 05:47.000 ENTERTAINMENT. 05:47.000 --> 05:48.020 IT'S VERY LOW TECH. 05:48.020 --> 05:49.072 THERE IS NOTHING FANCY ABOUT IT 05:49.072 --> 05:52.052 IT'S STORIES ON A STAGE. 05:52.052 --> 05:54.020 >> THESE AREN'T MONOLOGS, 05:54.020 --> 05:55.011 STANDUP COMEDY, THEATER PIECES, 05:55.011 --> 05:56.096 ANYTHING LIKE THAT. 05:56.096 --> 05:58.052 AT THE SAME TIME, ON THE RADIO, 05:58.052 --> 06:00.024 IT ISN'T A PRODUCED PIECE THAT 06:00.024 --> 06:02.040 IS OUT THERE THAT SOMEONE IS 06:02.040 --> 06:03.011 RIDICULOUSLY EDITING AND PUTTIN 06:03.011 --> 06:05.048 TOGETHER AND ADDING A LOT OF 06:05.048 --> 06:06.044 VOICES TO. 06:06.044 --> 06:08.072 SO IT'S A FORM OF STORY TELLING 06:08.072 --> 06:10.024 WHERE IT'S DIRECT ONE PERSON 06:10.024 --> 06:11.088 TELLING A STORY TO A GROUP OF 06:11.088 --> 06:13.036 PEOPLE, BUT IN THIS CASE YOU'RE 06:13.036 --> 06:14.076 TELLING IT AS IF YOU'RE TELLING 06:14.076 --> 06:15.064 IT TO ONE PERSON. 06:15.064 --> 06:17.072 >> BUT THEN HE TOLD ME THAT THIS 06:17.072 --> 06:21.020 BOY WAS 15, AND WHEN SHE CAME 06:21.020 --> 06:23.004 OUT OF THE GROCERY STORE AND HI 06:23.004 --> 06:24.080 FRIENDS SNATCHED THE PURSE AFTE 06:24.080 --> 06:26.056 THIS YOUNG LADY BESIDE OF HIM 06:26.056 --> 06:28.032 AND SHE TURNED AROUND ON HER 06:28.032 --> 06:30.032 CELL PHONE AND SAID YOU DIDN'T 06:30.032 --> 06:32.010 HAVE TO DO THAT! 06:32.010 --> 06:34.064 AND HE SHOT HER IN THE CHEST AN 06:34.064 --> 06:37.010 KILLED HER INSTANTLY. 06:37.010 --> 06:40.068 I HAD TO THINK, WHAT WAS WRONG 06:40.068 --> 06:41.092 WITH HIM? 06:41.092 --> 06:43.028 BECAUSE I HAD TO JUSTIFY AND 06:43.028 --> 06:44.010 UNDERSTAND HOW SOMEONE COULD DO 06:44.010 --> 06:45.060 THAT. 06:45.060 --> 06:50.036 AND I THOUGHT, POSSIBLY HIS 06:50.036 --> 06:51.088 MOMMA SMOKED CRACK, PROBABLY HI 06:51.088 --> 06:53.044 DADDY IS IN PRISON AND HE NEVER 06:53.044 --> 06:54.044 MET HIM. 06:54.044 --> 06:57.048 AND I STARTED TO WEEP IN MY SOU 06:57.048 --> 06:58.068 FOR HIM. 06:58.068 --> 07:01.060 SO I CHOSE THE SIDE OF MERCY 07:01.060 --> 07:03.088 INSTEAD OF VENGEFULNESS. 07:03.088 --> 07:07.024 THANK YOU. 07:07.024 --> 07:07.010 [ APPLAUSE ] 07:07.010 --> 07:09.024 >> IT BECOMES A TRADITION FOR 07:09.024 --> 07:09.096 PEOPLE. 07:09.096 --> 07:11.024 I SEE REGULARS HERE. 07:11.024 --> 07:12.010 I SEE PEOPLE THAT COME BACK 07:12.010 --> 07:14.032 MONTH AFTER MONTH. 07:14.032 --> 07:15.010 WE HAVE REGULAR STORY TELLERS. 07:15.010 --> 07:18.028 AT THE BEGINNING OF THE SHOW, W 07:18.028 --> 07:19.064 ASK HOW MANY PEOPLE HAVE NEVER 07:19.064 --> 07:20.064 BEEN TO THE MOTH BEFORE. 07:20.064 --> 07:22.052 WE GET A GOOD NUMBER OF HANDS 07:22.052 --> 07:24.024 EVERY TIME BUT ALSO A LOT OF 07:24.024 --> 07:26.072 FAMILIAR FACES. 07:26.072 --> 07:28.040 >> IT'S A NICE MIX YOU GET OF 07:28.040 --> 07:29.011 PEOPLE WHO WANT TO TAKE PART, 07:29.011 --> 07:32.056 WANT TO BE A LITTLE MORE 07:32.056 --> 07:33.000 RAUCOUS. 07:33.000 --> 07:34.011 WE DON'T USUALLY GET THAT WITH 07:34.011 --> 07:36.040 PUBLIC RADIO CROWDS AND IT'S 07:36.040 --> 07:37.000 NICE TO GET THAT. 07:37.000 --> 07:38.092 >> ONE OF THE THING I LIKE ABOUT 07:38.092 --> 07:42.072 THE MOTH STORY PLANS IS WE HAVE 07:42.072 --> 07:46.036 A VERY DIFFERENT GROUP. 07:46.036 --> 07:49.004 WE HAVE YOUNG, OLD, ALL 07:49.004 --> 07:50.096 DIFFERENT ETHNICITIES AND SOCIA 07:50.096 --> 07:52.010 AND CULTURAL BACKGROUNDS BECAUS 07:52.010 --> 07:55.000 THIS IS SOMETHING EVERYBODY CAN 07:55.000 --> 07:55.010 APPRECIATE AND SHARE. 07:55.010 --> 07:57.012 >> I TALKED TO A LOT OF PEOPLE 07:57.012 --> 07:59.028 AFTER SHOWS AND THEY TEND TO, I 07:59.028 --> 08:01.004 THINK, NOT ANTICIPATE HOW MUCH 08:01.004 --> 08:03.076 FUN OR HOW LIVELY IT CAN GET. 08:03.076 --> 08:05.010 IT'S A VERY UNIQUE EXPERIENCE 08:05.010 --> 08:08.012 AND IT'S UNLIKE ANYTHING ELSE 08:08.012 --> 08:09.088 HAPPENING IN LOUISVILLE OR EVEN 08:09.088 --> 08:11.008 IN MOST CITIES. 08:11.008 --> 08:13.064 >> I THINK, WHEN A CITY GETS THE 08:13.064 --> 08:15.028 MOTH, IT'S A REALLY GOOD 08:15.028 --> 08:17.092 INDICATION THAT THAT CITY HAS A 08:17.092 --> 08:19.010 INCREDIBLE CULTURAL THEME. 08:19.010 --> 08:22.004 FIRST, A CITY DECIDES IF 08:22.004 --> 08:24.076 LOUISVILLE CAN HAVE IT, IT'S A 08:24.076 --> 08:26.020 HUGE INDICATION OF WHERE THIS 08:26.020 --> 08:26.010 CITY IS. 08:26.010 --> 08:28.076 IT'S WHY WE MOVED HERE FROM 08:28.076 --> 08:29.024 NEW YORK. 08:29.024 --> 08:30.011 IT HAS THE EASE AND COMFORT OF 08:30.011 --> 08:32.064 THE SOUTH BUT THE CULTURE OF 08:32.064 --> 08:36.072 NEW YORK CITY. 08:36.072 --> 08:37.010 >> OUR "KENTUCKY LIFE" 08:37.010 --> 08:38.088 Facebook PAGE IS WHERE WE 08:38.088 --> 08:40.000 SHARE STORIES WITH YOU ABOUT 08:40.000 --> 08:41.060 WHERE WE HAVE BEEN, WHERE WE'RE 08:41.060 --> 08:42.011 GOING AND WHAT'S COMING UP ON 08:42.011 --> 08:43.080 THE SHOW. 08:43.080 --> 08:48.068 AND ON OUR WEB SITE AT 08:48.068 --> 08:49.092 ket.org/kentuckylife, YOU WILL 08:49.092 --> 08:51.011 FIND MORE STORIES ABOUT EVENTS 08:51.011 --> 08:53.010 THAT START UP ONLY AFTER THE SU 08:53.010 --> 08:55.076 GOES DOWN. 09:07.060 --> 09:09.068 ON KENTUCKY 672 IN CALDWELL 09:09.068 --> 09:11.032 COUNTY STANDS A MUSEUM. 09:11.032 --> 09:16.008 THE FORMER HOME OF DR. SAVED DA 09:16.008 --> 09:19.092 AMOS, BORN IN COBB COUNTY, 09:19.092 --> 09:22.010 KENTUCKY, OCTOBER 19th, 1857, 09:22.010 --> 09:28.011 DR. AMOS BECAME THE LEADER OF 09:28.011 --> 09:32.028 THE NIGHT NIGHT RIDER MOVEMENT. 09:32.028 --> 09:34.036 HE PROVIDED LEADERSHIP FOR TO 09:34.036 --> 09:36.084 BACK TO FARMERS IN KENTUCKY AND 09:36.084 --> 09:37.024 TENNESSEE. 09:37.024 --> 09:38.072 THIS MARKER TELLS THE STORY OF 09:38.072 --> 09:40.010 AN IMPOVERISHED PEOPLE TO RIGHT 09:40.010 --> 09:42.008 A TERRIBLE WRONG. 09:42.008 --> 09:43.084 DR. AMOS LED AN ORGANIZED 09:43.084 --> 09:45.010 SOCIETY OF DARK TOBACCO FARMERS 09:45.010 --> 09:47.064 IN A VIOLENT RESALT AGAINST THE 09:47.064 --> 09:50.028 LOW PRICES OF TOBACCO IMPOSED B 09:50.028 --> 09:51.011 THE DUKE TRUST. 09:51.011 --> 09:53.010 THE NIGHT RIDER MOVEMENT HELPED 09:53.010 --> 09:56.052 BREAK UP THE TO BACK TO 09:56.052 --> 09:57.048 MONOPOLY. 09:57.048 --> 10:00.028 IN 1911, THE DUKE TRUST WAS 10:00.028 --> 10:01.036 DISSOLVED BY A RULING OF THE 10:01.036 --> 10:02.010 U.S. SUPREME COURT. 10:02.010 --> 10:05.040 DR. DAVID AMOS DIED IN 1915 AND 10:05.040 --> 10:10.011 IS BURIED IN THE MILLWOOD 10:10.011 --> 10:12.000 CEMETERY. 10:12.000 --> 10:14.020 IF YOU'RE A FAN OF THE MUSIC 10:14.020 --> 10:15.084 SCENE IN THE CENTRAL KENTUCKY 10:15.084 --> 10:17.024 AREA, YOU WILL RECOGNIZE SOME 10:17.024 --> 10:20.024 FAMILIAR FACES IN CORALEE AND 10:20.024 --> 10:20.080 THE TOWNIES. 10:20.080 --> 10:22.024 MOST OF THE BAND MEMBERS HAVE 10:22.024 --> 10:23.060 BEEN PLAYING FOR YEARS WITH A 10:23.060 --> 10:25.008 VARIETY OF OTHER LOCAL BANDS. 10:25.008 --> 10:28.048 ALL THAT EXPERIENCE PLUS SOME 10:28.048 --> 10:32.048 STRONG SONGWRITING AND LEAD 10:32.048 --> 10:33.010 VOCALS FROM CORALEE HERSELF 10:33.010 --> 10:36.060 MAKES THE DISTINCTIVE STYLE AND 10:36.060 --> 10:41.000 SOUND THEY CALL HONKY TONK SOUL 10:45.012 --> 10:48.016 >> WE'RE CALLED CORALEE AND THE 10:48.016 --> 10:49.068 TOWNIES BECAUSE THAT'S KIND OF 10:49.068 --> 10:51.080 WHAT THE GUYS IN THE BAND ARE. 10:51.080 --> 10:54.008 THEY ARE KIND OF THE 10:54.008 --> 10:55.048 QUINTESSENTIAL MUSICIAN TOWNIES 10:55.048 --> 10:59.092 AND WE KIND OF, AS A JOKE, AS W 10:59.092 --> 11:01.056 WERE GETTING TOGETHER FOR ONE 11:01.056 --> 11:04.092 SHOW, SAID LET'S CALL IT CORALE 11:04.092 --> 11:05.084 AND THE TOWNIES. 11:05.084 --> 11:07.048 >> ONE OF THE GUYS MET CORALEE 11:07.048 --> 11:09.052 AND INVITED HER TO SING WITH US 11:09.052 --> 11:10.056 ONE NIGHT. 11:10.056 --> 11:12.008 I HEARD HER AND SAWS THE 11:12.008 --> 11:13.028 REACTION FROM THE PEOPLE IN THE 11:13.028 --> 11:15.052 AUDIENCE AND KNEW I WANTED TO 11:15.052 --> 11:17.040 PLAY WITH HER AND FOUND OUT WHA 11:17.040 --> 11:19.056 TYPE OF MUSIC SHE WAS GOING FOR 11:19.056 --> 11:21.096 AND WHAT TYPE OF PLAYERS SHE 11:21.096 --> 11:22.048 WANTED. 11:22.048 --> 11:23.010 I HAD BEEN IN THE SCENE FOR A 11:23.010 --> 11:25.056 WHILE AND KNEW A LOT OF THE GUY 11:25.056 --> 11:27.072 AND HELPED HER GET IN CONTACT 11:27.072 --> 11:29.024 WITH THEM AND WE STARTED IT UP. 11:29.024 --> 11:31.016 >> FOR ME, THE LYRICS AND THE 11:31.016 --> 11:33.024 MELODY ARE VERY MUCH MARRIED. 11:33.024 --> 11:35.012 I THINK YOU CAN SAY SOMETHING 11:35.012 --> 11:36.011 VERY SIMPLY AND SAY SOMETHING 11:36.011 --> 11:39.011 VERY SIMPLE, BUT THE CADENCE OF 11:39.011 --> 11:42.076 THE MELODY THAT YOU PUT IT TO 11:42.076 --> 11:46.040 CAN KIND OF TRANSFORM WHAT 11:46.040 --> 11:47.008 YOU'RE SAYING. 11:47.008 --> 11:51.000 SO I WRITE THE MELDY MELODY AND 11:51.000 --> 11:52.060 LYRICS HAND IN HAND. 11:52.060 --> 11:54.096 WE'LL BRING IT TO THE GUYS AND 11:54.096 --> 11:56.032 SOMETIMES WE'LL HAVE AN IDEA OF 11:56.032 --> 11:58.096 THE TYPE OF ENERGY I WANT IT TO 11:58.096 --> 12:00.010 HAVE, AND I TRY TO CONVEY THAT 12:00.010 --> 12:03.056 TO THEM AS BEST AS I CAN, BUT 12:03.056 --> 12:05.016 THEY PICK UP ON WHAT I'M FEELIN 12:05.016 --> 12:06.080 QUICKLY AND THEY ALL WRITE THEI 12:06.080 --> 12:07.048 OWN PARTS. 12:07.048 --> 12:08.010 THEN THE FUN PART IS WHEN WE 12:08.010 --> 12:10.060 TAKE IT TO THE STUDIO OR THE 12:10.060 --> 12:12.036 STAGE AND THAT'S WHEN WE FIND 12:12.036 --> 12:13.010 OUT WHAT'S GOING TO HAPPEN. 12:13.010 --> 12:15.028 >> THE TYPE OF CROWD THAT SEES 12:15.028 --> 12:18.080 THE TOWNIES IS WIDE-RANGING. 12:18.080 --> 12:20.044 SHE SEEMS TO APPEAL TO YOUNG AN 12:20.044 --> 12:22.052 OLD VERY WELL, WHICH IS GREAT, 12:22.052 --> 12:24.036 BECAUSE YOU CAN GET MORE PEOPLE 12:24.036 --> 12:25.048 TO COME SEE YOU. 12:25.048 --> 12:27.084 >> WHAT I'M ABLE TO PUT FORTH IN 12:27.084 --> 12:30.008 MY SONG WRITING IS WHO I AM ON 12:30.008 --> 12:33.068 THE INSIDE AND HAVING THE BAND 12:33.068 --> 12:36.028 TO REALIZE, LIKE, A WHOLE 12:36.028 --> 12:36.011 SOUNDSCAPE. 12:36.011 --> 12:40.032 I FEEL LIKE I'M ABLE TO REALIZE 12:40.032 --> 12:43.020 MYSELF THROUGH THE MUSIC, AND 12:43.020 --> 12:45.044 IT'S THE CREATIVE BATTLE AND AN 12:45.044 --> 12:47.016 EMOTIONAL OUTLET I REALLY 12:47.016 --> 12:48.068 COULDN'T LIVE WITHOUT. 12:48.068 --> 12:50.004 >> I KIND OF CAME UP WITH THE 12:50.004 --> 12:51.010 TERM FOR THE SOUND OF THE BAND. 12:51.010 --> 12:53.056 IT'S SO HONKY TONK. 12:53.056 --> 12:55.010 SHE HAS THIS COUNTRY FLAVOR BUT 12:55.010 --> 13:02.056 SHE'S REALLY SOULFUL. 13:02.056 --> 13:05.072 >> IT'S UNIQUE EVERY SHOW. 13:05.072 --> 13:08.064 IT CREATES AN AESTHETIC FOR US. 13:08.064 --> 13:10.052 I SPEND ABOUT FIVE HOURS ON EAC 13:10.052 --> 13:10.010 ONE. 13:10.010 --> 13:12.010 NO ONE WOULD EVER GUESS I GET 13:12.010 --> 13:13.056 INTO IT. 13:13.056 --> 13:14.044 I LOVE IT. 13:14.044 --> 13:16.060 >> THE TOWNIES CONSIST OF DAVID 13:16.060 --> 13:19.036 WHITE ON THE DRUMS, SMITH 13:19.036 --> 13:22.016 DONELSON ON RHYTHM GUITAR, FRED 13:22.016 --> 13:25.024 ON LEAD AND STEEL GUITAR, AND I 13:25.024 --> 13:27.072 PLAY THE UPRIGHT BASE MOSTLY, 13:27.072 --> 13:29.024 SOMETIMES ELECTRIC. 13:29.024 --> 13:32.028 CORALEE SINGS AND PLAYS GUITAR. 13:32.028 --> 13:33.040 >> I DON'T THINK WE NECESSARILY 13:33.040 --> 13:35.008 TRY TO PUT ON A SHOW OR PROJECT 13:35.008 --> 13:35.011 AN IMAGE. 13:35.011 --> 13:38.004 WE JUST KIND OF ALL TRY TO 13:38.004 --> 13:40.036 PRESENT OURSELVES AT OUR BEST A 13:40.036 --> 13:42.084 WE ARE AND, FORTUNATELY, WE ALL 13:42.084 --> 13:44.056 WORK REALLY WELL TOGETHER. 13:44.056 --> 13:47.068 SO I THINK THAT WHAT I HOPE IS 13:47.068 --> 13:49.048 PEOPLE THINK THEY GOT A LITTLE 13:49.048 --> 13:51.032 BIT OF A PIECE OF US WHEN THEY 13:51.032 --> 17:25.096 WALK AWAY. 17:30.028 --> 17:31.080 >> LATER THIS SEASON, WE'LL HEAR 17:31.080 --> 17:34.080 SOME OF THE SIGHTS AND SOUNDS 17:34.080 --> 17:37.052 COMING OUT OF PADUCAH'S MUSIC 17:37.052 --> 17:38.012 SCENE. 17:38.012 --> 17:39.076 NEWPORT'S INFAMOUS PAST IS 17:39.076 --> 17:41.048 FAMOUS OF STORIES ABOUT 17:41.048 --> 17:42.010 GANGSTERS DUKING IT OUT WITH 17:42.010 --> 17:44.072 EACH OTHER FOR A BIGGER SLICE O 17:44.072 --> 17:46.040 THE GAMBLING PIE. 17:46.040 --> 17:47.010 THESE DAYS THE HOTTEST RIVALRY 17:47.010 --> 17:49.068 IN THE CITIES TAKES PLACE ON TH 17:49.068 --> 17:51.056 COOL KEYS OF A PIANO. 17:51.056 --> 17:55.004 FOR HIGH ENERGY FUN, GANGSTERS 17:55.004 --> 17:57.044 DUELING PIANO BAR MAKES YOU AN 17:57.044 --> 17:58.011 OFFER YOU CAN'T REFUSE. 18:03.048 --> 18:08.040 >> THIS IS A GANGSTERS DUELING 18:08.040 --> 18:09.064 PIANO BAR AND RESTAURANT. 18:09.064 --> 18:12.012 WE ARE A DUELING PIANO BARS, 18:12.012 --> 18:14.040 WHICH MEANS THE PLAYERS PLAY 18:14.040 --> 18:16.092 BACK AND FORTH TO EACH OTHER, 18:16.092 --> 18:18.010 ALL REQUESTED SONGS. 18:18.010 --> 18:21.056 WE DO NIGHTLY DRINK AND DINNER 18:21.056 --> 18:22.008 SPECIALS. 18:22.008 --> 18:23.072 GANGSTERS IS KNOWN FOR PRIVATE 18:23.072 --> 18:24.056 AND LARGE PARTIES. 18:24.056 --> 18:25.010 WE DO EVERYTHING FROM 18:25.010 --> 18:27.084 BACHELORETTE TO BIRTHDAY 18:27.084 --> 18:30.032 PARTIES, ANNIVERSARY DINNERS. 18:38.064 --> 18:43.004 YOU CAN COME INDIVIDUALLY. 18:43.004 --> 18:44.032 RESERVATIONS ACCEPTED. 18:44.032 --> 18:49.080 WE DO TWO PEOPLE UP TO FORTY. 18:49.080 --> 18:51.060 IT IS ONE OF THE LARGEST BARS I 18:51.060 --> 18:52.028 THE AREA. 18:52.028 --> 18:53.010 THE BAR WRAPS AROUND THE ENTIRE 18:53.010 --> 18:55.010 AREA, AND THE PIANO PLAYERS STA 18:55.010 --> 18:57.072 IN THE CENTER, SO THERE IS NOT 18:57.072 --> 19:00.000 BAD SPOT IN THE ENTIRE HOURS. 19:00.000 --> 19:02.000 OUR ENTERTAINERS ARE BY REQUEST 19:02.000 --> 19:03.084 ONLY, SO WHATEVER OUR GUESTS 19:03.084 --> 19:05.064 WANT TO HEAR, THEY SIMPLY WRITE 19:05.064 --> 19:07.044 IT ON A PIECE OF PAPER AND SEND 19:07.044 --> 19:10.008 IT TO THE PIANO PLAYERS AND THE 19:10.008 --> 19:12.048 PLAY THE MUSIC OF THE GUEST. 19:12.048 --> 19:14.096 SO IT VARIES EVERY SINGLE NIGHT 19:14.096 --> 19:17.012 ONE NIGHT IT COULD BE COUNTRY, 19:17.012 --> 19:18.010 ANOTHER ALL DANCE MUSIC. 19:18.010 --> 19:20.096 IT'S COMPLETELY UP TO OUR GUEST 19:20.096 --> 19:22.024 WHAT THEY WOULD LIKE TO HEAR. 19:22.024 --> 19:24.036 OUR PIANO PLAYERS ARE FLOWN IN 19:24.036 --> 19:27.068 FROM ALL OVER THE WORLD, YOU MA 19:27.068 --> 19:30.020 BE IN VEGAS ONE DAY AND HEAR 19:30.020 --> 19:39.028 THEM AND THE NIEWPT THE NIERPT 19:39.028 --> 19:41.010 THEY HAVE YET TO BE STUMPED. 19:41.010 --> 19:43.080 >> FROM NEWPORT, HEADING SOUTH 19:43.080 --> 19:47.044 TO WHITLEY AND MCCREERY COUNTIE 19:47.044 --> 19:49.032 AND THE NATURAL WONDER THAT HAS 19:49.032 --> 19:50.092 DRAWN PEOPLE FOR HUNDREDS OF 19:50.092 --> 19:51.040 YEARS. 19:51.040 --> 19:52.072 VISITORS FROM AROUND THE WORLD 19:52.072 --> 19:54.092 COME TO SEE CUMBERLAND FALLS, 19:54.092 --> 19:59.088 AND MANY TAKE HOME PLENTY PHOTO 19:59.088 --> 20:01.088 OF THE FALLS AND OF THE 20:01.088 --> 20:02.096 CUMBERLAND FALLS STATE PARK. 20:02.096 --> 20:05.088 IT'S THE FAMOUS MOONBOW AND THE 20:05.088 --> 20:09.060 CHALLENGE OF CAPTURING IT ON 20:09.060 --> 20:12.020 FILM THAT BRINGS PEOPLE BACK TO 20:12.020 --> 20:14.008 THE FALLS AGAIN AND AGAIN. 20:14.008 --> 20:16.016 CUMBERLAND FALLS, THE NIAGARA O 20:16.016 --> 20:27.040 THE SOUTH. 20:27.040 --> 20:29.028 AS SPECTACULAR AS IT IS IN THE 20:29.028 --> 20:30.084 DAYTIME, THE FALLS PUTS ON 20:30.084 --> 20:32.032 ANOTHER SHOW ON CLEAR NIGHTS 20:32.032 --> 20:38.076 DURING FULL MOONS. 20:38.076 --> 20:41.011 IT'S CALLED THE MOONBOW, OR 20:41.011 --> 20:43.036 LUNAR RAINBOW. 20:43.036 --> 20:44.016 >> AND WHAT HAPPENS IS THE MIST 20:44.016 --> 20:48.036 THAT COMES OFF THE FALL COMES 20:48.036 --> 20:51.024 UP, AND THE LIGHT FROM THE MOON 20:51.024 --> 20:53.048 FILTERS THROUGH AND CREATES THE 20:53.048 --> 20:54.000 MOONBOW. 20:54.000 --> 20:56.052 YOU CAN'T SEE COLOR IN IT 20:56.052 --> 20:58.048 USUALLY UNTIL YOU DEVELOP YOUR 20:58.048 --> 20:59.092 PHOTOGRAPHS, BUT THEN IT HAS AL 20:59.092 --> 21:01.000 THE COLORS IN IT. 21:01.000 --> 21:03.020 THE COLORS OF A RAINBOW. 21:03.020 --> 21:07.056 THE MOONBOW HAPPENS EVERY MONTH 21:07.056 --> 21:09.004 USUALLY FOR FIVE DAYS, IF THE 21:09.004 --> 21:11.072 SKIES ARE OPEN. 21:11.072 --> 21:12.088 >> CUMBERLAND FALLS IS THE ONLY 21:12.088 --> 21:14.096 PLACE IN THE WESTERN HEMISPHERE 21:14.096 --> 21:17.000 WHERE YOU CAN SEE A MOONBOW ON 21:17.000 --> 21:19.044 REGULAR BASIS. 21:19.044 --> 21:21.056 >> OUR FALLS ARE NOT 21:21.056 --> 21:22.048 ARTIFICIALLY LIT. 21:22.048 --> 21:24.028 WE DON'T HAVE LIGHTS ON THEM IN 21:24.028 --> 21:25.092 THE EVENING TO LIGHT THEM UP 21:25.092 --> 21:28.010 LIKE THEY DO AT NIAGARA FALLS 21:28.010 --> 21:32.056 AND YOSEMITE FALLS. 21:32.056 --> 21:33.011 VICTORIA FALLS LOST THEIR 21:33.011 --> 21:35.010 MOONBOW WHEN THEY HAD AN 21:35.010 --> 21:36.052 EARTHQUAKE. 21:36.052 --> 21:38.032 THE ROCKS NO LONGER SUPPORT THE 21:38.032 --> 21:40.004 FALLS IN THE SAME WAY SO THAT, 21:40.004 --> 21:43.056 WHEN THE LIGHT IS FILTERED 21:43.056 --> 21:45.008 THROUGH THE MIST, IT DOESN'T 21:45.008 --> 21:48.028 LIGHT IT UP AS A MOONBOW ANY 21:48.028 --> 21:48.088 LONGER. 21:48.088 --> 21:50.052 MOST PEOPLE DO NOT GIVE 21:50.052 --> 21:51.010 THEMSELVES ENOUGH TIME HERE. 21:51.010 --> 21:53.096 THEY THINK THAT, BY LOOKING AT 21:53.096 --> 21:56.016 THE SCHEDULE THAT WE POST, WHIC 21:56.016 --> 21:59.072 IS A WINDOW OF OPPORTUNITY, THA 21:59.072 --> 22:01.048 THEY CAN COME IN THOSE FEW SHOR 22:01.048 --> 22:02.096 HOURS AND GET IT. 22:02.096 --> 22:04.012 THEY NEED TO COME. 22:04.012 --> 22:05.060 THEY NEED TO SPEND THEIR WEEKEN 22:05.060 --> 22:08.072 HERE OR THEIR WEEK, BECAUSE IT 22:08.072 --> 22:11.010 HAPPENED TWO DAYS BEFORE A FULL 22:11.010 --> 22:13.060 MOON DURING, AND TWO DAYS AFTER 22:13.060 --> 22:16.024 THE FULL MOON, THERE IS THE 22:16.024 --> 22:18.000 LIKELIHOOD OF A MOONBOW. 22:18.000 --> 22:19.072 IF THEY WOULD COME AND STAY IN 22:19.072 --> 22:21.092 THE LODGE AND THE SURROUNDINGS, 22:21.092 --> 22:23.048 DO OUR TRAILS, ENJOY EVERYTHING 22:23.048 --> 22:24.096 THAT WE HAVE HERE, THEY WOULD 22:24.096 --> 22:29.020 HAVE A MUCH BETTER TRIP PLUS A 22:29.020 --> 22:32.084 MORE OF A CHANCE TO GET THE 22:32.084 --> 22:33.040 MOONBOW. 22:33.040 --> 22:35.080 >> THIS PHENOMENON DRAWS EXPERT 22:35.080 --> 22:37.076 PHOTOGRAPHERS FROM ALL OVER THE 22:37.076 --> 22:38.036 WORLD. 22:38.036 --> 22:45.056 CHARLIE BAGLIN IS A TALENTED 22:45.056 --> 22:50.004 KENTUCKY PHOTOGRAPHER WHOSE 22:50.004 --> 22:51.044 COLLECTIONS INCLUDE THE FALLS. 22:51.044 --> 22:53.088 IT'S THE MOONBOW THAT BRINGS 22:53.088 --> 22:56.000 CHARLIE BACK TIME AFTER TIME. 22:56.000 --> 22:57.068 >> I HAVE BEEN DOING IT FOR A 22:57.068 --> 22:59.044 FEW YEARS TO COME DOWN AND SEE 22:59.044 --> 23:00.011 THE MOONBOW. 23:00.011 --> 23:02.010 IT'S A PIECE OF MAGIC THAT YOU 23:02.010 --> 23:04.028 DON'T GET THE PRIVILEGE TO DO 23:04.028 --> 23:05.011 VERY OFTEN IN LIFE, AND TO COME 23:05.011 --> 23:07.080 DOWN AND SEE IT AND BE ABLE TO 23:07.080 --> 23:09.010 TAKE IT HOME ON CAMERA, THAT'S 23:09.010 --> 23:12.048 PIECE OF WORK. 23:12.048 --> 23:14.028 YOUR BEST FRIEND, WHEN YOU'RE 23:14.028 --> 23:17.076 PHOTOGRAPHING THE MOONBOW, IS A 23:17.076 --> 23:21.004 TRIPOD BECAUSE THE EXPOSURE TO 23:21.004 --> 23:25.008 GET THE IMAGE PROPERLY COULDN'T 23:25.008 --> 23:27.028 BE TWO, THREE, FOUR MINUTES, 23:27.028 --> 23:28.088 DEPENDING ON THE CAMERA, BUT 23:28.088 --> 23:31.052 THERE IS NO WAY TO HANDHOLD A 23:31.052 --> 23:35.012 SHOT FOR THAT LONG. 23:35.012 --> 23:36.011 SO YOUR TRIPOD IS REALLY YOUR 23:36.011 --> 23:37.092 BEST FRIEND. 23:37.092 --> 23:39.092 IT CAN REALLY BRING THAT 23:39.092 --> 23:42.012 EXPOSURE STEADILY. 23:42.012 --> 23:44.010 WHEN YOU'RE TAKING A PHOTOGRAPH 23:44.010 --> 23:46.011 AT NIGHT, INSTANTLY YOU THINK, 23:46.011 --> 23:49.048 OH, IT'S DARK, I BETTER TURN ON 23:49.048 --> 23:50.044 THE FLASH. 23:50.044 --> 23:52.012 THAT'S NOT THE WAY IT IS WHEN 23:52.012 --> 23:54.032 YOU'RE PHOTOGRAPHING THE MOONBO 23:54.032 --> 23:56.004 BECAUSE WHAT YOU'RE DOING IS 23:56.004 --> 23:59.008 TAKING A PHOTOGRAPH OF LIGHT. 23:59.008 --> 24:01.092 IF THAT'S A CANDLELIGHT, IF 24:01.092 --> 24:03.032 THAT'S A REFLECTION, YOU'RE 24:03.032 --> 24:05.096 TAKING A PHOTOGRAPH OF RAYS OF 24:05.096 --> 24:07.080 LIGHT AS THEY COME THROUGH THE 24:07.080 --> 24:09.016 BRANCHES EARLY IN THE MORNING. 24:09.016 --> 24:11.044 ANY ARTIFICIAL LIGHT SOURCE IS 24:11.044 --> 24:12.011 JUST GOING TO WASH IT OUT. 24:12.011 --> 24:15.016 THE SAME THING WITH A FLASH ON 24:15.016 --> 24:16.032 YOUR CAMERA. 24:16.032 --> 24:17.068 IT'S GOING TO LEAVE YOU WITH A 24:17.068 --> 24:19.011 PICTURE OF WHAT LOOKS LIKE FOG, 24:19.011 --> 24:21.092 AND THAT'S THE MIST COMING OUT 24:21.092 --> 24:24.048 OF THE PLUNGE BASIN OF THE 24:24.048 --> 24:24.011 FALLS. 24:24.011 --> 24:26.032 >> STEVE SHAFFER MAKES HIS 24:26.032 --> 24:28.072 LIVING AS A PROFESSIONAL 24:28.072 --> 24:29.024 PHOTOGRAPHER. 24:29.024 --> 24:31.011 HIS CAREER TOOK HIM FROM 24:31.011 --> 24:34.044 NEWSPAPER PHOTOJOURNALIST TO KE 24:34.044 --> 24:37.080 AS THE STAFF PHOTOGRAPHER. 24:37.080 --> 24:39.010 >> WHAT I USE AT THE MOONBOW IS 24:39.010 --> 24:45.000 USUALLY A DIGITAL SLR, ALWAYS O 24:45.000 --> 24:52.052 A TRIPOD, USUALLY REALLY SLOW 24:52.052 --> 24:53.028 SHUTTER SPEEDS. 24:53.028 --> 24:57.011 MY SETTINGS USUALLY STAY PRETTY 24:57.011 --> 24:58.080 CONSISTENT. 24:58.080 --> 25:00.048 WITH THE CAMERAS I HAVE, THEY'R 25:00.048 --> 25:02.004 USUALLY PRETTY SENSITIVE, AND I 25:02.004 --> 25:05.040 KEEP THE ISO OR THE FILM SPEED 25:05.040 --> 25:11.036 USUALLY AT 400 ASA OR 640 ASA. 25:11.036 --> 25:15.060 USUALLY, I CAN GET A 30-SECOND 25:15.060 --> 25:22.016 EXPOSURE AT F4, F4-5, 5-6. 25:22.016 --> 25:24.012 IT WILL CHANGE FROM TRIP TO 25:24.012 --> 25:25.080 TRIP, DEPENDING ON HOW BRIGHT 25:25.080 --> 25:26.010 THE MOON IS. 25:26.010 --> 25:29.012 BUT IN THAT BALLPARK IS USUALLY 25:29.012 --> 25:31.084 WHERE I STICK, AND I'VE GOTTEN 25:31.084 --> 25:33.036 PRETTY GOOD RESULTS SO FAR. 25:33.036 --> 25:37.000 THIS IS MY -- THIS YEAR, THIS I 25:37.000 --> 25:39.000 MY FOURTH OR FIFTH TRIP DOWN 25:39.000 --> 25:41.004 HERE TO SEE THE MOONBOW. 25:41.004 --> 25:42.010 IT'S ALWAYS A PRETTY COOL TRIP. 25:42.010 --> 25:45.036 I MEAN, THERE IS ALWAYS LOTS OF 25:45.036 --> 25:46.052 NICE PEOPLE. 25:46.052 --> 25:48.024 THERE IS ALWAYS PEOPLE WHO HAVE 25:48.024 --> 25:49.072 NEVER SEEN IT BEFORE, WHICH IS 25:49.072 --> 25:51.024 REALLY COOL TO TALK TO THOSE 25:51.024 --> 25:51.011 PEOPLE. 25:51.011 --> 25:52.010 >> I HAVE BEEN GOING TO THE 25:52.010 --> 25:55.048 FALLS AS FAR BACK AS I CAN 25:55.048 --> 25:57.064 REMEMBER, NEVER TIRING OF THE 25:57.064 --> 25:58.056 SCENERY HERE. 25:58.056 --> 25:59.011 FOR ME AND COUNTLESS OTHERS, 25:59.011 --> 26:02.084 IT'S A PLACE WHERE LIFELONG 26:02.084 --> 26:04.068 MEMORIES ARE MADE, EITHER BY DA 26:04.068 --> 26:09.016 OR NIGHT. 26:09.016 --> 26:11.044 A TRIP TO SEE THE MOONBOW AT 26:11.044 --> 26:13.052 CUMBERLAND FALLS IS A FUN, 26:13.052 --> 26:15.012 FAMILY ADVENTURE, AND KENTUCKY 26:15.012 --> 26:17.052 STATE PARKS, ARBORETUMS AND 26:17.052 --> 26:19.060 NATURE PRESERVES HAVE WAYS WE 26:19.060 --> 26:21.064 CAN ENJOY NATURE AT NIGHT ALL 26:21.064 --> 26:22.084 THROUGH THE YEARS. 26:22.084 --> 26:25.036 THERE ARE HIKES TO SEE NOCTURNA 26:25.036 --> 26:27.016 BIRDS AND ANIMALS, STAR GAZING 26:27.016 --> 26:31.092 AND EVEN MOONLIGHT CANOE TRIPS. 26:31.092 --> 26:33.000 NIGHTTIME IS DEFINITELY THE 26:33.000 --> 26:34.076 RIGHT TIME TO ENJOY KENTUCKY'S 26:34.076 --> 26:35.010 NATURAL WONDERS. 26:35.010 --> 26:37.092 WE HOPE YOU'VE ENJOYED TONIGHT' 26:37.092 --> 26:42.036 SHOW AND WE'LL SEE YOU NEXT TIM 26:39.056 --> 26:43.056 RIGHT HERE ON "KENTUCKY LIFE."